I giganti del mare

Really good, sound drama with Gary Cooper and Charleton Heston involving the world of shipping and salvage. From the raging sea to the eeryness of an empty ship, to the court room and back it maintains a very good pace.

The night scenes are filmed very well but you must see them in wide-screen format or letter-boxed. For example, close scenes inside the ship at night are well filmed and staged, but literally won't make sense if not viewed letter-boxed. The outdoor sea scenes (almost all dark) are awesome, probably better than if they had been computer-generated. But again, the movements of the ships will not make sense if viewed other than letterbox. The story is largely told through movement- of ships, or of men moving around in the dark. I mention this to help any potential viewer.

Cooper gives a compelling, desperate performance that makes you really want to watch what happens to his character, Capt. Patch. Also, this is probably the most believable performance by Heston as an ordinary, non-historical, non sci-fi character. I was pleasantly surprised by both Cooper's and Heston's performances. Both performances are essentially very modern-style screen acting, and are not dated after these many years.

The supporting roles are undeveloped and one-dimensional, including the role so forcefully played by the young Richard Harris. Its a shame the great Virginia McKenna is so underused here. She could have made the film appeal to a broader-based audience. The other supporting actors (Alexander Knox at his most wooden) don't add to the film.

Even if you don't like seafaring stories, watch this for the acting by the two stars, and for the marvelous night cinematography. Film students and buffs should look carefully at the night scenes inside the ship and on the docks. You will see true night cinema work, with perfectly set light meters and minimalist lighting. In other words: nighttime lighting and camera artistry, not gimmicks.

Gary Cooper and Charlton Heston star in "The Wreck of the Mary Deare," along with an incredible supporting cast including Richard Harris, Michael Redgrave, Alexander Knox, and Emlyn Williams. The reason for such a cast? The original director was to be Alfred Hitchcock.

Heston plays John Sands, captain of a small rescue ship, who finds the freighter Mary Deare drifting. The crew seems to have abandoned the ship, but there's one person left, the first officer Gideon Patch. What happened on board isn't certain, but Patch begs Sands not to say anything about the ship until there is an official investigation and the ship is examined by an objective third party. Sands goes along, though this means not telling anyone that ship hasn't sunk, as people are led to believe, but that it is on the Minquiries Islands.

Very good drama, with a screenplay by suspense writer Eric Ambler. The shipboard atmosphere and storm sequences are great, and the performances are strong. Despite filming shutdowns due to Gary Cooper being ill, you wouldn't know it from his fiery portrayal of Patch, whose reputation and career are on the line. Heston does very well opposite him.

This is really the best of Gary Cooper's last few films. He only made one film after this, The Naked Edge, released in 1961 after his death, and that was a bomb. By that point, he had to stop filming frequently to get oxygen. He was ill while making "Mary Deare," but probably didn't realize that he had cancer. Amazing that he worked to the very end. He deservedly died the huge star that he had been for 30-plus years.

Very good movie, suspenseful, with great performances, atmosphere, and effects.

I realize that great special effects shouldn't make or break a movie, and they don't here, but they ARE really terrific. The shipwreck scenes in the beginning of the film are not only great for 1958, they're great by today's standards too. I'd love to see a making of documentary. I'm so bored with the special effects "making of" docs of today. It's always that everything was first shot against a green screen, and then come the interviews with the SPX guys telling you what they did and how hard it was to do. "Yep, we just programmed the computer and went for coffee while it rendered the action". Yeah, really impressive. No computer here. This is the true essence of what used to be a CRAFT. Albeit scaled down, everything you see here on the screen actually existed in real life and not in cyberspace. I don't know if anyone will ever read this, or even care to compare, but watch the similar ship scenes in the newer version of King Kong and then compare them to what was done here almost 50 years sooner. IMHO, the scenes in the 2005 "King Kong" look more like a very realistic cartoon! Same thing with this years "Flyboys". The dogfights had a lot of great "camera" angles and thrilling sequences, but nowhere near as thrilling as done almost 80 years before for "Wings". And besides, that cartoon look clashes with the live action stuff. Yes, NOT using a computer WOULD have made things harder for the "Flyboys" and "Kong" crews, but if they're really any good they would have come up with better results! That's why the director of "The Fugitive" crashed a REAL train for the film rather than stoke up the computer chips. You really want real, you have to have real in there someplace! I really think that the film industry has it backwards. Huge budget films should spend all that money on the harder to do but more satisfying "hand crafted" SFX and leave the computer generated junk for the low budget flicks.

Anyone connected to the sea or anyone who just likes a good sea story is going to love this movie. This movie isn't Ben Hur or High Noon nor does it try to be, but this is still a very worthwhile movie. The opening scenes of this film set it's mysterious and eerie tempo, almost a film nourish character that carries the viewer through the movie. I particularly enjoyed the scenes depicting the ship itself and found them to be more realistic and believable and better shot than almost any other movie of the genre. I can only hope that one day this long forgotten film with be rediscovered and find a new audience in a DVD version.